threemonthly edition july_august_september 2003 issue 7

Transcription

threemonthly edition
july_august_september 2003
modular lighting magazine
issue 7
Editorial
01
by Peter
SnowWhite and the Magnificent 7
01_CONTENT
05_PRODUCT SPECIAL
09_MMMODULAR
13_SLUT
nomad, lotis, giro, boxlite and flush dynamix
Modular dishes
Fairy tale comic
02_EDITORIAL
06_ANGELO & ANGELINO
10_LOOKING FOR MOTIVATED PEOPLE
14_AGENDA
Bye, bye, Zinetta ...
Hot studs being waterproof but not beerproof
die Ortlahner Schuhplattlergruppe
Exhibitions and events
03_PROJECTS
07_MODUNEWS
11_GREGOIR
This chapter shows a grasp of recently finished projects
Recent news of fairs and exhibitions
Fairy tale
04_ELEVEN QUESTIONS ...
08_ŒUVRE
12_MODU REVIEW PAGE
... to Benjamin Demeyere
Sofie Muller
Been here, seen this?
FAR LEFT DWARF:
DOMINIQUE M EERSMAN
DWARF NEXT TO FAR LEFT DWARF:
B ERNARD ROMMENS
THIRD DWARF FROM THE LEFT:
B RAM COUVREUR
DWARF IN THE MIDDLE:
LAURENT G ERMONPREZ
FEMALE DWARF:
LIESELOT VANDEMAELE
COOL DWARF:
PETER WILLEMS
DWARF ON THE RIGHT:
TOON STOCKMAN
Zinetta 07
Zinetta is published three monthly by Modular Lighting Instruments NV.
Zinetta editions are entirely made by RotoR.
Printed on 30.800 copies. Not to be sold. Distributed by a local
Modular Lighting Instruments Dealer or by a local fan club.
Although Zinetta has endeavoured to ensure that all information is
correct, all info in this magazine may be subject to change.
2
Zinetta would like to thank the following contributing players:
Editorial Office: RotoR crew & associated Modular members
Layout, illustrations and concept: RotoR
Contributing photographers: Studio Boa, RotoR
Contributing illustrators: Benjamin Demeyere, Pieter De Poortere
For subscriptions contact our website:
www.supermodular.com/zinetta.
Editorial office and other enquiries: Ms. Zinetta,
Rumbeeksesteenweg 258-260, B-8800 Roeselare, Belgium,
phone +32 51 25 27 25, [email protected].
Bye, bye, Zinetta ...
“Hey dreamer boy” she said, waving her hand in front of my eyes, “How far away
are you?” I couldn’t have been more lost in my daydream as I was gazing at one of
Scotland’s most beautiful pieces of countryside. Zinetta had booked a “murder and
mystery” trip and had asked lucky me to accompany her. This was our first night
there and we were having a Bloody Mary on one of Castle McManaman’s most
beautiful terraces.
“Well”, she continued, “I was reading this book on fairy tales and modern day
thrillers and what their actual meaning was in the olden days compared to today.
After I finished my reading, I picked up the phone and booked us this trip. “Oh? I
didn’t know you were so impulsive...” I grinned. She didn’t even pay attention to my
playful remark. “To hell with sunny beaches and traditional holidays, we’re here for
some pure spine-tingling mystery, my dear Watson. The brochure says that we just
have to check in at the hotel and that the rest will be taken care of!”
At that very moment, a waiter arrived with an envelope on a silver plate with my
name written on it in red ink. “They’re in quite a hurry to murder somebody”, I
laughed. But my laughter didn’t last long as I read the old-fashioned handwriting:
“ONE OF THE PEOPLE ON THE TERRACE WILL SHORTLY BE BEHAVING
STRANGELY - PAY CLOSE ATTENTION”. Zinetta grasped the envelope from my
hands, read the message and couldn’t help herself from becoming almost
hysterical. “Oh, don’t you find this game so exciting!!”
The Sherlock in me woke up as I started studying the five other couples around us.
Surprisingly, nothing happened in the hour that followed except for the wonderful
meal we were served. “Oh, if only Francis were here to taste this gorgeous piece of
lamb and sip this super wine”. I didn’t have enough time to get nervous thinking
about her lovely “Jamie Oliver” Francis, as all of a sudden the guy sitting at the table
next to us shouted, “Well, I’ve had enough of this. I’ve tried everything to solve our
problems but you do nothing but complain. I’m going to my room, enjoy my desert!”
Quite a good piece of acting, I thought, as I closely observed what was happening.
The guy’s wife just stared in front of her as he left the table very abruptly and
bumped into me, knocking over a glass of wine on my shirt. “Oh damn”, he said. “Put
the cleaning bill on my account”, and just left without apologizing.
What happened shortly afterwards was just like in a movie, because the murder and
mystery part now really started taking off. In the few minutes that I needed to get to
my room and change my shirt, I heard a loud bang that seemed to come from the
room next door. I was the very first person to get there and found the door and the
bedroom window wide open. Mr nice guy from a few minutes ago had opened his
room’s window and had apparently jumped out, falling for what surely must have
been 30 metres. Or had he been pushed? Seconds later, I heard shouting and the
other guests were soon looking down with me at the silhouette of a tiny man in a
puddle of blood. The guy’s wife, or the actress that played her, collapsed and was
immediately looked after by the hotel staff. Very realistic acting once again...
Zinetta and I decided that it was time for bed, and in our case this unfortunately still
meant separate rooms. But to hell with that, many other men would have paid
money to be this close to my favourite girl. While taking off my pants, I felt
something unusual in my pocket. “Strange”, I thought, since I didn’t recall having put
something in it. It was a small piece of cardboard with the following message
scribbled on it: “MY MURDERER WILL BE AFTER YOUR GIRLFRIEND TOO!!!”
It must have been the guy that left the table who slipped this into my pocket! I
thought that this whole mystery thing was starting to get out of hand, but decided
not to tell Zinetta until the following morning.
In the middle of the night, I was woken up by what I thought were voices coming
from Zinetta’s room. I switched on the bedside lamp and immediately went over to
have a look and found the door open. All the lights were out except for the light
coming from under the bathroom door. “Zinetta?” I called while giving a tap on the
door. No answer, except for what sounded like whispers. “Zinetta?!”, and a second
knock. I thought I heard her say “Help me”, and forcefully opened the door. What I
then saw was the most dreadful sight of my whole life. Zinetta sat upright in the
bathtub with blood splattered all over the walls and floor. SURPRISE SURPRISE!!
was written on the mirror in Zinetta’s lip stick. I started shouting for help as loud as
I could while trying to resuscitate Zinetta’s lifeless body.
Very soon afterwards, nearly the whole group was at the room door, but apparently
not to help... One of them was carrying a bloody butcher’s knife and very slowly
came towards me. I tried to do something to defend myself, but had no chance in
the tiny bathroom. Soon, three of the attackers were holding me tightly as the killer
drew nearer. They all started grinning and whispering “who’s next, who’s next, who’s
next...?”
“No! No! No!!” “Hey what’s up with you, silly boy? I’ve never heard you complain
when getting suntan lotion put on. Did you fall asleep maybe?” As I opened my
eyes, I saw my beautiful Zinetta smiling over me and rubbing sun lotion on my chest.
“Did my baby boy have a bad dream maybe, huh? Didn’t you know that a mix of
holiday murder and mystery books, one too many cocktails and this Greek sun can
affect your dreams?”
I needed about five minutes to recover from this dreadful nightmare. I urgently called
the waiter, ordered a double gin and tonic and enjoyed Zinetta playing in the pearly
blue waves... Hah, life can be hard sometimes...
3
Projects
03
recently finished projects
by Peter
Playstation bus - Copenhagen
Architect: D-Func
4
Photo: Tue Schiørring
featured product: nomad 4x AR111
Sushi bar - Milano
featured products: square moon + haloscan
Architect: Otto Bani & Acciaro Jacopo
5
Provinciehuis - Leuven
Architect: Studiebureau Partners & Gançalo Byrne
6
picture below: 2flat2c
pictures bottom: multiple trimless 1xAR1111 + 1xCDM-T
picture below: multiple trimless + SL149
picture bottom: 2flat2c + SL149
7
JIJE strip museum - Brussels
Architect: Atelier des Deux Maisons
picture left: nomad 2xMR16
picture right: square moon + nude
Tiketitoo Wally Yachts - Italy
Architect: German Frers
8
Interior architect: Serena Anibaldi
featured product: square moon + 1.8 moon
Teinturerie - Lille
Architect: Jean-marc Vinckier
featured product: diablo
9
Café Parti - Ghent
Architect: Architectenbureau Egus
10
featured product: multiple trimless
BizLink - Singapore
featured product: square moon
Architect: BizLink
Lampe Textiles - Tielt
featured product: downut + miniwall
Interior Architect: Francis Billiet
11
Eleven Questions . .
04
Benjamin Demeyere
by Toon
Belgian artist, Benjamin Demeyere, started his career painting fairy tales. Until now, he still
is inspired by all kind of ‘tales’, so enough reasons to ask him our eleven questions. And,
yes, we did asked him twelve questions, because we had some good laughs during this
interview. He even made us order hot soup on a hot day, which was refreshing after all…
1) Barbapapa, Pollux and Casimir are all animation icons created in the 1960s and 70s
which you collect and find fascinating. Are there any “contemporary” animation figures
which interest you?
Much of my work is based on giving life back to something from the past, and in this sense, I find these
figures captivating and they therefore continue to exist for me. I do watch contemporary cartoons,
such as, for example, the Simpsons and South Park, but then only for laughs. I really don’t feel the
same connection with these shows. Objectively speaking, I don’t think that Barbapapa is any better,
but I just don’t have the same nostalgic ties with the other figures.
2) A few typical personality questions: what is your favourite colour, what flower do you
like best, and which other artist do you admire the most?
I really like transparent as a colour, and my favourite flower is cauliflower. I’m not someone who looks
at someone else’s work for a long time at exhibitions, but if I really have to mention names, then I would
say Giotto, Picasso, Leger, and, for more contemporary artists, Boltanski.
3) When people first look at your work, I have noticed that their first question is often why
all your figures have big noses and large teeth. Why is that? (And if you painted nudes,
would you also paint other body parts larger than usual ;-))
I’ve toned it down a bit, but it is true that the nose has continued to be quite prominent. Regarding
paintings of nudes, I’ve already made some and the body parts are relatively normal, and sometime
smaller than the nose. So basically you can project what you want on the painting. But perhaps you
should show my work to a psychologist or psychiatrist, because maybe I do have a “part” which
measures 5 cm or 3 metres. Just let your imagination loose.
4) You teach children, but do you learn anything from them?
Actually, not that much, but I do find it incredibly fascinating. Although my work appeals to children,
I’m not inspired by children’s drawings. I’m more impressed by “l’art brut”, work created by mentally
handicapped people. This touches me more because it has the spontaneity associated with children
but deals with mature topics which appear very spontaneously.
5) You find inspiration in fairy tales, creatures of the forest and other fanciful stories in
which you use a lot of colour. Does this mean you find the real world boring?
I don’t find it necessary to go and paint things as I perceive them. Many things in the world are very
dull, sad or dramatic, but that’s not a reason for me to go and paint a war or all the other horrors of
the world. I think that that’s a little too easy, even somewhat vulgar. At first sight, my work is geared
towards children and very colourful, but on the other hand I also often feel tormented. Those who look
at my work can see the drama in it if they look hard enough. I don’t see myself as a caricaturist who
only looks at the humorous side of things. However, I do find it positive that depending on their mood,
people can experience my work in a completely different manner. One person can see the work as
quite funny while another sees it as sad. What I found so exciting about fairy tales is that even after
years, or even centuries, they are still told to children while they were originally meant for adults. These
fairy tales are just as equivocal.
6) What animal language do you speak fluently? People say that you can communicate
with wolves, whales and birds. Is this true and if so, what do you talk about with them?
Actually, yes, I do speak animal language really well. Before, I couldn’t do this at all because as a child
I even had difficulties just speaking. Basically, it was a question of circumstance and involved my
models. When, for example, you bring a whale to your studio to pose, then you have to be able to
communicate. My vocabulary is limited to professional matters, but I can clearly tell whales how they
have to pose. I’m now studying ant language and have learned to use a type of Assimil method in order
to speak their language. I generally recruit my models from a modelling agency, but I find it better to
work without an interpreter. I remember that I once had a penguin and, since I couldn’t speak penguin,
had to hire an elephant that could speak penguin. Well, that was just too complicated. The result is
that there are animals that I’ve never painted because I don’t speak their language.
7) If you could actually have one of your subjects as a real-life friend (for example Snow
White, the whale, Little Red Riding Hood, etc.), who would you chose?
It really depends on the period. I have recently worked a lot with whales, and now they are my
favourite. It’s even become an obsession, because now I see whales everywhere. But if I look back
through time, then my choice would be Little Red Riding Hood. It might be possible that Little Red
Riding Hood will come back some day.
10) You no longer limit yourself to paint and canvas and are using different materials more
and more often (broomsticks, papier-mâché, spoons, plastic, etc.). Is “digital” art your cup
of tea, or do you prefer “analogue” work?
It’s highly dependent on how my work is produced. I see something, it appeals to me, and I do
something with it. Thus, I can see a spoon or something else and make a whale out of it. With digital
art, you have to work differently: you want to make something and then you have to use the computer
to do it. For my last exhibition, we made a film for which the costumes and décor were made with brica-brac. Nevertheless, we filmed and edited it digitally. I just look for the materials I need. If, for example,
I want to glue two spoons to each other, I won’t go looking for glue from the 1970s, I’ll just use today’s
ordinary regular glue.
11) This is a holiday edition. What is your favourite way to travel and to which destination?
I don’t particularly feel the need to travel far away. Yet once I’m there, I don’t want to leave anymore.
My absolute favourite is driving around France with my family in a minibus. We just leave without a
fixed itinerary and sleep, eat and drink in the “camionette” parked down by rivers.
12) You were born in Mouscron. Do you paint in French?
I did in fact grow up as a French speaker and now live in Antwerp, a city where you pretty much “have”
to speak Dutch. On certain works, there is text, and it is often in both languages. I begin a sentence
in French and finish it in Dutch. I look at how the words sound in their language more from the point
of view of a poet. As is the case for my exhibitions’ names; I don’t translate things just because it’s
the done thing, I just like to play with the words. That’s something I really like in Belgium: the richness
and craziness of the two languages. The two languages are enriching and each has its own features.
As a result, there are words which only sound good in Dutch and vice-versa. To get back to how I
paint, it depends on whether I’m alone, who I last saw, whether I spoke French or Dutch... It really is
the Belgian way, everything mixed up together.
www.benjamindemeyere.be
8) I have always wondered if an artist can still have a hobby?
I play golf and tennis in Braschaat.
9) What is your opinion of St. Nicholas?
I’ve been a big fan of his for years. I think that what he does for children is great.
12
Maison de la Culture Tournai: October 2003
Galerij de Zwarte Panter: summer 2004
13
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alu: 10201605
lamptype: 2x HEGPAR30 / E27 max.75W 230V
nomad 2x CDM-T
nomad 2x ES50 - ES63
nomad 4x ES50 - ES63
nomad xyz 4x AR111 / 2x 1TI
171
184
180
180
182
321
279
254
290
132
279
321
254
black: on request
alu: 10202005
alu: 10202105
alu: 10202505
alu: 10202205
input: 230V
input: 230V
lamptype: 2x MT / G12 max. 70W 230V
lamptype: 2x HARI / Gu10 50W or 2x HARI / Gu10 75W
lamptype: 4x HARI / Gu10 50W or 4x HARI / Gu10 75W
nomad xy arm
nomad xyz arm 1000-1400 mm
nomad 1x PL
nomad 2x PL
272
184
232
75
178
378
1000mm: L max=1300
1400mm: L max=2000
900
alu: 10202610
alu: 10202310 1000 mm
375
178
alu: 10201757
alu: 10201857
alu: 10202410 1400 mm
to be used with 230V nomads only
to be used with 230V nomads only
lamptype: 1x FBT / E27 max.23W 230V
nomad 4x PL
nomad uplighter 2x TC-L 55W
nomad uplighter 1x CDM-TD 150W
nomad suspension PL
180
639
387
375
375
652
1000
max. 3,5m
928
602
260
alu: 10201957
alu: 10202705
alu: 10202805
alu: 10202905
lamptype: 2x FSDH / 2G11 55W 230V
lamptype: 1x MD / Rx7S-24 150W 230V
nomad minimal E27 ultra short
nomad minimal E27 short
nomad minimal E27 tall
nomad minimal desk
90
90
90
520
600
225
62
225
600
Ø200
alu: 10203405
alu: 10203305
alu: 10203505
lamptype: 1x IAA / E27 max.75W 230V
alu: 10203705
always to be used with minimal shade
16
minimal shade medium / large (*) see bottom page
minimal disk
nomad linestra short
nomad linestra tall
90
250
90
200:medium
250:large
600
222
222
600
Ø200: medium
Ø 250: large
white:: 10203801 medium
white: 10203901 large
alu: 10203605
red: 10203813 medium
red: 10203913 large
black: 10203802 medium
black: 10203902 large
Using minimal disk on Ultra Short, decreases inclination
To be used with nomad minimal:
Ultra Short, Short & Tall
nova 1
nova 2
alu: 10203105
alu: 10203205
lamptype: 1x IAT / S14d max.60W 230V
lamptype: 1x IAT / S14d max.60W 230V
nova 4
Ø 54
Ø54
Ø54
176
176
176
133
285
285
285
alu: 10810105
alu: 10810205
lamptype: 1x HSG / Gy6,35 max.50W 12V
alu: 10810405
giro 1x ARIII semi-recessed
giro 2x ARIII TIN
giroman PAR halogen
65
giroman PAR halogen - adapter included
50
170
235
210
195
162
130
345
130
Ø 50
brushed alu: 10820124
ninety ES50
ninety ES63
alu: 10950105
alu: 10950205
lamptype: 1x HEGPAR20 / E27 max.50W
or1x HEGPAR30 / E27 max.75W 230V
lamptype: 1x HEGPAR20 / E27 max.50W
or1x HEGPAR30 / E27 max.75W 230V
ninety PAR20 halogen
ninety PAR30 halogen
143
132
105
81
80
80
178
142
134
118
119
184
alu black: 10160252
alu black: 10160352
alu black: 10160452
alu black: 10160552
lamptype: 1x HRGI / Gz10 50W 230V
lamptype: 1x HRGI / Gz10 75W 230V
ninety MR16
ninety - adapter included
omnis lampholder
omnis transfo 200VA
80
110
139
118,5
133
alu black: 10160752 ninety ES50
L.S.M.: 10180218
L.S.M.: 10180118
alu black: 10160852 ninety ES63
Cylindrical transformer housing fitted with two pushbuttons for use with omnis-rod.These push-buttons
provide both the electrical and mechanical connections.
With incorporated toroidal transformer of 200VA.
Finished in grey textured epoxy.
oscar dicrofront
alu black: 10161052 ninety PAR30 halogen
Orientable lampholder for an AR-III lamp, fitted with 2 pushbuttons for use with nickel-plated power feed Omnis-rods.
These push-buttons provide both the electrical and mechanical connections by means of sliding clamps on the lamp.
Finished in grey textured epoxy.
omnis rod
omnis foot
oscar TI
alu black: 10160152
alu black: 10160952 ninety PAR20 halogen
106
xx = 300
600
70
nickel: 10180310 30cm
nickel: 10180410 60cm
50
145
112
111
44
alu: 10170205
L.S.M.: 10180518
Nickel-plated power feed rod.
Lenght 30 cm or 60 cm.
Insulated clamp for attaching omnis rods.
oscar flap
oscar lamp-ring
alu: 10170105
chrome: 10170107
black chrome: 10170227
Snap-on adapter for use with a HRGI / Gu5,3-lamp with
a GX 5,3 fitting.
oscar baseplate
114
beam
design by vincent van duysen
68
25
1316
95
19
black: 10170302
black: 10170402
Barn doors
4-sided
Matt black
Trim ring for ARIII
black: 10170502
90
Ø 75
alu: 10170505
alu: 10840105
lamptype: 1x FD / G13 36W 230V
beam twin
design by vincent van duysen
guideline 18W
guideline 36W
guideline 58W
111
1316
628
40
76
1238
40
76
40
76
1538
90
alu: 10840205
alu: 10830105
alu: 10830205
alu: 10830305
(*) minimal shade: only to be used in upright position.
To be used with nomad minimal: ultra short, short, tall &
desk
17
griffon TI
design by joël claisse
nude PAR30 halogen
nude PAR20 halogen
Ø 69
45
max. 2000
nude PAR20 halogen short
Ø 69
45
Max 4000
Ø 69
45
Max 4000
Max 4000
Ø 70 150
Ø 103 150
Ø 50 105
60
white:: 10190101
lamptype: 1x HEGPAR30 /
E27 max.75W
230V
E27 max.50W
230V
E27 max.50W
230V
alu: 10190105
lamptype: 1x HRGI / Gu5.3
max.20W 230V
downie low
downie suspension
downie high
153
downie frosted glass + rubber
220
Max 3500
Ø 256
220
Ø 245
Ø 245
white: 10850101
alu: 10850105
10850330
white: 10850201
brushed: 10850124
alu: 10850205
lamptype: 2x FSQ / G24q-3 26W 230V
brushed: 10850424
brushed: 10850224
For a more diffuse light.
lamptype: 2x FSQ / G24q-3
26W 230V
perplex
Grade, Ghent
Hugo Vanneste - nude
275
220
chrome: 10550107
lamptype: 1x HDG / R7s max. 200W 230V
aaah! interior
lab TI interior
lab interior
90
72
72
280
90
45
395
lab 2 interior
72
120
150
90
90
45
45
45
alu: 10510105
alu: 10520105
alu: 10520205
alu: 10520305
lamptype: 1x IBT / E14 max. 25W 230V
lamptype: 1x HSG / Gy 6,35 max. 50W 230V
parede 1x CDM-T
parede 1x MR16 TI
index B
index C
130
80 80
166
371
300
230
570
51
51
300
120
white: 10540101
black: 10540102
alu: 10530205
alu: 10530105
alu: 10540105
alu: 10540205
lamptype: 1x MT / G12 max.70W 230V
lamptype: 1x HRGI / Gu5,3 max. 50W 230V
lumiflat halogen direct
lumiflat halogen direct / indirect
lumiflat HIT-DE
format 1x TC-S
320
144
230
144
230
35
50
35
320
144
243
150
35
alu: 10930105
alu: 10930205
alu: 10930305
alu: 10570105
lamptype: 1x MD / Rx7s 70W 230V
lamptype: 1x FSD / G23 9W 230V
format 1x TC-L
format 1x T5
miniwall TC-L 1x 55W
miniwall TC-L 2x 55W
210
60
600
160
50
1180
970
60
330
210
50
160
alu: 10570205
grey metal: 10570305
alu: 10580105
alu: 10580205
lamptype: 1x FSD / 2G11 18W 230V
lamptype: 1x FDH / G5 21W 230V
lamptype: 1x FSDH / 2G11 max. 55W 230V
lamptype: 2x FSDH / 2G11 max. 55W 230V
boxlite halogen
cardea 2x 9W SQ surface
cardea TC-D 1x 18W surface
cardea TC-D 1x18W
55
55
240
245
210
200
185
245
120
120
215
64
alu: 10600105
alu: 10610105
alu: 10610205
alu: 10610305
lamptype: HEGBT / E27 max. 100W 230V
lamptype: 2x FSD / G23 max. 9W 230V
lamptype: 1x FSQ / G24d-2 18W 230V
lamptype: 1x FSQ / G24d-2 18W 230V
conbox: 10610430
20
square moon diablo
ambient
square moon design by luc vincent
square moon 4x 18W
square moon 3x 15W
square moon 2x 36W
636
square moon 4+4x 18W 90°
55
484
55
636
55
1246
636
636
484
242
55
opal: 10630111
red: 10630113
opal: 10630211
red: 10630213
opal: 10630311
red: 10630313
blue: 10630116
yellow: 10630114
blue: 10630216
yellow: 10630214
blue: 10630316
yellow: 10630314
royal blue: 10630117
silver: 10630105
silver: 10630205
silver: 10630305
opal: 10630411
square moon 2+2x 18W 90° long
square moon 2+2x 18W 90° short
496
55
681
242
55
636
55
248
opal: 10630511
design by luc vincent
1.8 moon
320 55
1246
300
636
opal: 10630611
opal: 10630711
opal: 10630811
cables / set suspension (*) see bottom page
flex connecting box / flexible feed
square moon colours
55
Ø25
1816
45
max.4m
Ø 19
147
opal: 10631211
2 cables: 10631430
red: 10631213
4 cables: 10630930
conn. box: 10631030
flex. feed: 10631130
Suspension cables. Max. 4000 mm.
opal
yellow
blue
silver
royal blue
different colours
on request
red
diablo high TL5 8 x 24W
diablo high dynamix
1240
1240
640
940
640
640
940
170
866
866
1166
1166
640
170
170
170
866
1466
1466
866
opal: 10642011
opal: 10642111
opal: 10642211
opal: 10642311
lamptype: TL5 8 x 24W 230V
lamptype: diablo high TL5 12 x 28W 230V
lamptype: TL5 4 x 24W + 4 x AR111 max.. 50W 230V
diablo low wall 2 x FDH
324
1540
324
260
640
211
170
170
1051
866
1766
550
550
opal: 10642411
opal: 10642511
opal: 10642611
lamptype: diablo high TL5 2 x 21W 230V
square moon
Chess Café Ghent
Arch. bureau Return - square moon
19
impact tecta LC intro K TCL-scan lotis LC max mini-haloscan haloscan W woofer wallwash
multiple dynamix multiple darklight multiple mini-multiple multiple PL slide flush gate flush dynamix
recessed mounted
impact
impact adjustable
tecta semi-recessed
LC 1-2
30
92
147
123
90
82
Ø: 65 h:95
alu: 10240105
80
Ø: 80 h:65
white: 10240101
chrome: 10240107
alu: 10240205
90
Ø: 60 h: 40
white: 10240201
white: 10110401
chrome: 10240207
Ø: 80 h:90
black: 10110402
matt white: 10250201
alu: 10110405
alu: 10250203
black: 10250202
lamptype: 1x HRGI / Gu5,3 max.50W 12V
intro
K-035
K-135
K-0
75
75
75
Ø 90
75
80
67
65
Ø 70 h: 90
Ø 75 h: 100
white: 10290101
Ø: 60 h: 90
black: 10290102
alu: 10290105
Ø: 60 h: 90
white: 10270001
white: 10271001
black: 10271002
white: 10271101
black: 10271102
alu: 10270005
alu: 10271005
chrome: 10271007
alu: 10271105
chrome: 10271107
gold: 10271008
black: 10270002
chrome: 10270007
gold: 10270008
PAN: 10270004 matt
gold: 10271108
PAG: 10270003 brass matt
inox 316L: 10270020
lamptype: 1x HRGI / GU4 max. 35W 12V
lamptype: 1x HRGI / GU4 max. 35W 12V
K-1
K-2
K-3
TC-L scan semi-recessed
75
white: 10270101
180
75
90
90
Ø 70 h: 90
180
black: 10270102
white: 10270201
black: 10270202
alu: 10270105
chrome: 10270107
alu: 10270205
chrome: 10270207
white: 10270301
black: 10270302
white:
gold: 10270108
PAN: 10270104 matt
gold: 10270208
PAN: 10270204 matt
alu: 10270305
chrome: 10270307
alu: 10260105
PAG: 10270103 brass matt
inox 316L: 10270120
inox 316L: 10270220
gold: 10270308
inox 316L: 10270320
Ø 80 h: 90
Ø: 110 h:120
lotis MR16
lotis ARIII
LC max CDM-R PAR 30
mini-haloscan AR70
190
107
138
75
80
Ø 80 h: 90
222
77
128
82
Ø 216
Ø 76 h: 115
Ø 218
Ø 200
Ø 210 h: 220
black: 10880102
black: 10880202
alu: 10880205
alu: 10880105
Ø 110 h: 80
white: 10870101
white: 10300101
polished alu: 10870125
alu: 10300105
black: 10300102
max. 75W when using low pressure HMG/G53 lamp
lamptype: 1x MR30 / E27 max.70W 230V
lamptype: 1x HMG / Ba15d max. 50W 12V
mini-haloscan PAR20 halogen
mini-haloscan PAR20 CDM-R
haloscan AR111
haloscan PAR30 CDM-R
82
130
130
182
128
128
182
Ø 110 h: 135
white: 10300201
Ø 110 h: 135
black: 10300202
white: 10300301
alu: 10300205
129
Ø 160 h: 100
black: 10300302
white: 10300401
alu: 10300305
Ø 160 h: 190
black: 10300402
white: 10300501
alu: 10300405
black: 10300502
alu: 10300505
lamptype: 1x HEGPAR20 / E27 max. 50W 230V
lamptype: 1x MR20 / E27 35W 230V
max. 75W when using low pressure HMG/G53 lamp
lamptype: 1x MR30 / E27 max. 70W 230V
haloscan high CDM-R PAR 30
haloscan high CDM-T
haloscan high SDW-T
mini haloscan convertor
200
200
200
30
183
183
183
Ø 160 h: 230
white: 10300601
Ø 160 h: 230
black: 10300602
white: 10300701
136
black: 10300702
Ø 160 h: 230
white: 10300801
black: 10300802
white: 10300901
alu: 10300605
alu: 10300705
alu: 10300805
lamptype: 1x MR30 / E27 max. 70W 230V
lamptype: 1x MT / G12 max. 150W 230V
lamptype: 1x SDW-t / PG12-1 max. 100W 230V
haloscan convertor
W50
W35 PAR20 halogen
black: 10300902
alu: 10300905
converter for reducing luminance
W35 PAR20 CDM-R
95
35
180
180
95
185
Ø 80 h: 110
white: 10301001
127
127
Ø 96 h: 200
Ø 96 h: 200
black: 10301002
alu: 10301005
alu: 10310105
alu: 10310205
alu: 10310305
chrome: 10310107
W70 PAR30 CDM-R
woofer PAR30 halogen
woofer MR16 orientable
converter for reducing luminance
W70 PAR30 halogen
215
180
177
Ø 140 h: 200
20
100
145
177
158
158
Ø 140 h: 240
Ø 140 h: 150
Ø 140 h: 110
alu: 10310405
alu: 10310505
alu: 10320505
alu: 10320605
wallwash dynamix 2MR16+PAR20 CDM-R
slide square
slide
twin slide
90
90
90
160
130
330
270
130
90
308x248 h: 160
82x70 h: 130
130
140
160
130x70 h: 130
150x70 h: 130
alu: 10340105
alu: 10480105
alu: 10480205
alu: 10480305
lamptype: 2x HRGI/ Gu5,3 max.50W 12V
conbox / gypkit: 10490130 / 10500130
conbox / gypkit: 10490230 / 10500230
conbox / gypkit: 10490230 / 10500330
double slide
slide square clockwork
flush gate 1x 18W
flush gate 2x 18W
90
309
309
100
100
130
180
170x70 h: 130
Ø 92 h: 130
alu: 10480405
100
89
100
100
169
93x313 h: 150
173x313 h: 150
white: 10890101
white: 10890201
recessed frame / conbox: included / 10890530
alu: 10480505
conbox / gypkit: 10490230 / 10500430
lamptype: 1x HRGI / GU5,3 max. 50W 12V
flush gate 2x 36W
flush gate 2x 55W
flush dynamix 1x T5C + 1x AR111
509
609
282,5
100
173x513 h: 150
173x613 h: 150
150,5
150,5
255
255
169
169
282,5
533,5
282,5
100
506
255
256x256 h: 250
507x256 h: 250
white: 10890301
white: 10890401
white: 10900101
white: 10900201
lamptype: 1x T5 circuline / 2GX13 22W 230V
multiple 2x PL 24W
140
197
506
506
185
188
188
383
533,5
533,5
150,5
197
185
352
197
159
159
159
383
170x170 h: 220
507x507 h: 250
multiple 1x SDW-T
370x370 h: 180
white: 10900401
alu: 10353305
197
197
multiple 2Lx SDW-T
multiple trimless
2Lx SDW-T
blk:10362502 / alu on req.
gypkit: 10410130
gypkit: 10410230
rec. frame: 10450130
rec. frame: 10450230
1x SDW-T / PG12-1
max.50W 230V
2x SDW-T / PG12-1
max.50W 230V
1x SDW-T / PG12-1
max.50W 230V
2x SDW-T / PG12-1
max.50W 230V
103
352
188
352
352
470x170 h: 220
124
1692
495
325x170 h: 220
multiple trimless
1x SDW-T
alu:10353105 / c.alu on request alu:10353205 / c.alu:on request blk:10362402 / alu on req.
188
352
315x160 h: 210
160x160 h: 210
352
188
188
325x170 h: 220
314
325x325 h: 220
366
366
120
325x325 h: 220
340 x 340 h: 135
1681x110 h: 130
multiple dynamix
1x AR111
+ 1x PAR30 CDM-R
2x AR111
+ 1x PAR30 CDM-R
SQ 2x AR111
+ 2x PAR30 CDM-R
SQ 3x AR111
+ 1x PAR30 CDM-R
2x AR111 + 2x TC-L
mini mult. dynamix
2x AR70 + 1x T5
alu / complete alu /
10330305 / on request
lamptype / 12V (*)
1x HMG / G53 max.50W
lamptype / 230V
1x MR30 / E27 max.70W
1x MR30 / E27 max.70W
2x MR30 / E27 max.70W
1x MR30 / E27 max.70W
2x FSD / 2G11 24W
2x HMG / Ba15d max.50W
1x FD / G5 35W
197
83
197
83
197
170x170 h: 110
325x170 h: 220
83
352
83
352
197
197
197
197
83
83
495
638
352
470x170 h: 110
325x325 h: 110
83
615x170 h: 110
781
755x170 h: 110
924
1210
83
197
900x170 h: 110
1180x170 h: 110
1x AR111
2Lx AR111
3Lx AR111
4SQx AR111
4Lx AR111
5Lx AR111
6Lx AR111
8Lx AR111
alu / complete alu
conbox / gypkit
10390130 / 10410130
10390330 / 10410330
10390430 / 10410430
10390530 / 10410530
10390630 / 10410630
10390730 / 10410730
10390830 / 10410830
lamptype (*)
1x HMG / G53
max.50W 12V
3x HMG / G53
max.50W 12V
4x HMG / G53
max.50W 12V
4x HMG / G53
max.50W 12V
5x HMG / G53
max.50W 12V
6x HMG / G53
max.50W 12V
8x HMG / G53
max.50W 12V
multiple
10390230 / 10410230
2x HMG / G53
max.50W 12V
159
80
80
314
160x160 h: 110
315x160 h: 110
314
457
458x160 h: 110
80
80
314
80
80
159
159
159
159
159
315x315 h: 110
80
600
601x160 h: 110
743
80
744x160 h: 110
886
159
887x160 h: 110
1172
159
1173x160 h: 110
1x AR111
2Lx AR111
3Lx AR111
4SQx AR111
4Lx AR111
5Lx AR111
6Lx AR111
8Lx AR111
black / alu
conbox / recessed frame
10430130 / 10450130
10430230 / 10450230
10430330 / 10450330
10430430 / 10450430
10430530 / 10450530
10430630 / 10450630
10430730 / 10450730
10430830 / 10450830
lamptype (*)
1x HMG / G53
max.50W 12V
2x HMG / G53
max.50W 12V
3x HMG / G53
max.50W 12V
4x HMG / G53
max.50W 12V
4x HMG / G53
max.50W 12V
5x HMG / G53
max.50W 12V
6x HMG / G53
max.50W 12V
8x HMG / G53
max.50W 12V
multiple trimless
197
170x170 h: 220
188
188
188
197
197
352
325x170 h: 220
495
197
470x170 h: 220
1x ARIII
2Lx AR111
3Lx AR111
alu / complete alu
gypkit
10410130
10410230
10410330
lamptype (*)
1x HMG / G53
max.50W 12V
2x HMG / G53
max.50W 12V
3x HMG / G53
max.50W 12V
multiple darklight
(*) max. 75W when using low pressure HMG/G53 lamp
Supergeil, Copenhagen
Arch.: Johannes Torpe - multiple
21
197
197
352
197
495
197
188
352
638
352
197
170x170 h: 220
325x170 h: 220
470x170 h: 220
multiple
1x CDM-R PAR30
2Lx CDM-R PAR30
3Lx CDM-R PAR30
4SQx CDM-R PAR30
4Lx CDM-R PAR30
alu / complete alu
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x MR30 / E27
max.70W 230V
2x MR30 / E27
max.70W 230V
3x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
159
314
159
160x160 h: 210
325x325 h: 220
615x170 h: 220
185
185
185
159
185
185
457
159
314
458x160 h: 210
315x160 h: 210
314
159
315x315 h: 210
600
601x160 h: 210
multiple trimless
1x CDM-R PAR30
2Lx CDM-R PAR30
3Lx CDM-R PAR30
4SQx CDM-R PAR30
4Lx CDM-R PAR30
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x MR30 / E27
max.70W 230V
2x MR30 / E27
max.70W 230V
3x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
197
197
352
197
170x170 h: 220
Trioptic, Turnhout
Arch.: DMVA David Driesen, Tom Verschueren - mini multiple trimless
188
188
188
188
188
495
197
352
470x170 h: 220
325x170 h: 220
638
352
197
325x325 h: 220
615x170 h: 220
1x PAR30 halogen
2Lx PAR30 halogen
3Lx PAR30 halogen
4SQx PAR30 halogen
4Lx PAR30 halogen
alu / complete alu
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x HEGPAR30 / E27
max.75W 230V
2x HEGPAR30 / E27
max.75W 230V
3x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
multiple
159
159
185
185
185
185
159
314
457
159
185
314
314
159
315x160 h: 210
multiple trimless
1x PAR30 halogen
2Lx PAR30 halogen
3Lx PAR30 halogen
4SQx PAR30 halogen
4Lx PAR30 halogen
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x HEGPAR30 / E27
max.75W 230V
2x HEGPAR30 / E27
max.75W 230V
3x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
197
315x315 h: 210
601x160 h: 210
188
188
188
197
638
352
352
197
170x170 h: 220
325x170 h: 220
470x170 h: 220
325x325 h: 220
615x170 h: 220
multiple
1x CDM-T
2Lx CDM-T
3Lx CDM-T
4SQx CDM-T
4Lx CDM-T
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x MT / G12
max.70W 230V
2x MT / G12
max.70W 230V
3x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
159
159
160x160 h: 210
185
185
185
185
159
457
314
314
159
315x160 h: 210
185
458x160 h: 210
314
315x315 h: 210
600
159
601x160 h: 210
multiple trimless
1x CDM-T
2Lx CDM-T
3Lx CDM-T
4SQx CDM-T
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x MT / G12
max.70W 230V
2x MT / G12
max.70W 230V
3x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
103
103
210x210 h: 130
315x110 h: 130
mini-multiple
1x ES50-ES63
2Lx ES50-ES63
3Lx ES50-ES63
4SQx ES50-ES63
alu / complete alu
conbox / gypkit
10400130 / 10420130
10400230 / 10420230
10400330 / 10420330
10400430 / 10420430
lamptype
1x HRGI / Gz10
50W or 75W 230V
2x HRGI / Gz10
50W or 75W 230V
3x HRGI / Gz10
50W or 75W 230V
4x HRGI / Gz10
50W or 75W 230V
181
181
203
204x204 h: 210
206
206
203
203
204x204 h: 210
Mer du Nord, Ghent
Arch.: Troisième Bureau - multiple trimless
220
325
210x110 h: 130
4Lx CDM-T
220
103
103
220
110x110 h: 130
120
120
120
120
203
mini multiple trimless
188
495
352
197
197
458x160 h: 210
600
160x160 h: 210
188
22
188
188
188
188
232
232
210x210 h: 240
232
232
210x210 h: 240
multiple trimless
2x 18W TCD
multiple trimless
2x 18W TCD + louvre
multiple
2x 18W TCD
multiple
2x 18W TCD + louvre
alu
10362605
10362705
10354105
10354205
recessed frame / gypkit
10450930 rec. frame
10450930 rec.frame
10410930 gypkit
10410930 gypkit
lamptype
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
multiple trimless
103
110x110 h: 130
103
325
210x110 h: 130
120
220
103
103
220
120
120
120
120
120
103
220
315x110 h: 130
210x210 h: 130
103
423
415x110 h: 130
510x110 h: 130
mini-multiple
1x AR70
2Lx AR70
3Lx AR70
4SQx AR70
conbox / gypkit
10400130 / 10420130
10400230 / 10420230
10400330 / 10420330
10400430 / 10420430
10400530 / 10420530
10400630 / 10420630
lamptype
1x HMG / Ba15d
max.50W 12V
2x HMG / Ba15d
max.50W 12V
3x HMG / Ba15d
max.50W 12V
4x HMG / Ba15d
max.50W 12V
4x HMG / Ba15d
max.50W 12V
5x HMG / Ba15d
max.50W 12V
100
100
103x103 h: 130
203x103 h: 130
102
202
100
100
202
5Lx AR70
102
102
102
102
102
4Lx AR70
521
100
294
392
202
295x103 h: 130
203x203 h: 130
100
393x103 h: 130
491x103 h: 130
mini-multiple trimless
1x AR70
2Lx AR70
3Lx AR70
4SQx AR70
black /alu
10440130 / 10460130
10440230 / 10460230
10440330 / 10460330
10440430 / 10460430
10440530 / 10460530
10440630 / 10460630
lamptype
1x HMG / Ba15d
max.50W 12V
2x HMG / Ba15d
max.50W 12V
3x HMG / Ba15d
max.50W 12V
4x HMG / Ba15d
max.50W 12V
4x HMG / Ba15d
max.50W 12V
5x HMG / Ba15d
max.50W 12V
103
120
220
110x110 h: 130
210x110 h: 130
325
315x110 h: 130
210x210 h: 130
1x MR16
2Lx MR16
3Lx MR16
4SQx MR16
alu / complete alu
conbox / gypkit
10400130 / 10420130
10400230 / 10420230
10400330 / 10420330
1x HRGI / Gu5,3
max.50W 12V
2x HRGI / Gu5,3
max.50W 12V
3x HRGI / Gu5,3
max.50W 12V
103
423
220
mini-multiple
lamptype
120
220
103
103
103
5Lx AR70
120
120
120
120
103
4Lx AR70
490
415x110 h: 130
521
510x110 h: 130
4Lx MR16
5Lx MR16
10400430 / 10420430
10400530 / 10420530
10400630 / 10420630
4x HRGI / Gu5,3
max.50W 12V
4x HRGI / Gu5,3
max.50W 12V
5x HRGI / Gu5,3
max.50W 12V
102
100
102
102
102
100
102
103x103 h: 130
202
203x103 h: 130
294
202
295x103 h: 130
203x203 h: 130
mini-multiple trimless
1x MR16
2Lx MR16
3Lx MR16
4SQx MR16
black / alu
10440130 / 10460130
10440230 / 10460230
10440330 / 10460330
lamptype
1x HRGI / Gu5,3
max.50W 12V
2x HRGI / Gu5,3
max.50W 12V
3x HRGI / Gu5,3
max.50W 12V
188
197
197
188
197
170x170 h: 240
197
170x170 h: 240
100
392
490
100
393x103 h: 130
491x103 h: 130
4Lx MR16
5Lx MR16
10440430 / 10460430
10440530 / 10460530
10440630 / 10460630
4x HRGI / Gu5,3
max.50W 12V
4x HRGI / Gu5,3
max.50W 12V
5x HRGI / Gu5,3
max.50W 12V
188
197
102
202
100
100
188
197
197
170x170 h: 240
188
197
170x170 h: 240
multiple
1x PL 13W elec.
1x PL 18W elec.
1x PL 26W/32W elec.
1x PL 42W elec.
alu
10353705
10353805
10353905
gypkit
10410130
10410130
10410130
lamptype / 230V
1x FSM-E / GX24q-1
13W 230V
1x FSM-E / GX24q-2
18W 230V
1x FSM-E or 1x FSM-H /
GX24q-3 26W or 32 W
197
188
197
197
197
170x170 h: 240
170x170 h: 240
188
197
197
170x170 h: 240
1x PL 13W conv.
1x PL 18W conv.
1x PL 26W conv.
10354005
10353405
10353505
10353605
10410130
10410130
10410130
10410130
1x FSM-H / GX24q-4
42W 230V
1x FSQ / G24d-1
13W 230V
1x FSQ / G24d-2
18W 230V
1x FSQ / G24d-3
26W 230V
agrus quova led
signalisation & orientation
argus
argus for plexi
quova housing 1200
quova cover 1200
45
70
27
55
58
55
80
Ø 80 h: 65
Ø 80 h: 65
90x 30 h: 60
10621330
alu: 10590205
white: 10590101
alu: 10621405 circles
alu: 10621505 squares
black: 10590102
conbox: 10622630
alu: 10590105
lamptype: HRGI / Gu5,3 max. 50W 12V
lamptype: HRGI / Gu5,3 max. 20W 12V
lamptype: HSG / G4 max. 5W 12V
quova cover 1200
quova housing 114
quova cover 114
quova cover 114
75
75
50
90x78 h: 55
alu: 10621605 vertical
alu: 10621705 horizontal
10621830
alu.: 10621905 cicrles
alu.: 10622005 squares
alu: 10622105 rectangles
alu: 10622205 round
conbox: 10622730
lamptype: 1x FSQ / G24d-1 max 13W
lamptype: HSG / G4 max. 5W 12V
23
downut
quova housing 2470 PL
quova housing 2470 E14
quova cover 2470
quova cover 2470
70
70
202
202
52
52
210x 55 h: 75
210x 55 h: 75
10620130
10620230
conbox: 10622430
conbox: 10622430
quova housing 225 2x PL
quova housing 225 2x E14
quova cover 225
202
alu: 10620505 vertical
alu: 10620605 horizontal
quova cover 225
202
142
142
70
70
210x 150 h: 75
210x 150 h: 75
10620730
10620830
conbox: 10622530
2
conbox: 10622530
quova 5000
mono led clear glass
alu: 10621105 rectangles
alu: 10621205 round
mono led PC high
mono led frosted glass
77
545
590
555x35 h: 80
58.5
58.5
58.5
Ø 44 h: 70
Ø 44 h: 70
alu: 10622305
alu: 10920105 white led
lamptype: FDH / G5 max. 13W 230V
lamptype: 1x LED white star / - amber star / -*
alu: 10920205 amber led*
Wine & Dine, Oudenaarde
Arch.: Stellamans - quova
58
61
58
32
46
Ø 44 h: 70
parede led
led square
75
85
75
53
45
40
60x 60 h: 49
lamptype: 1x LED white star / -
fred una hybrid woody argus exterior beamer jules hit-me flashback flasher apostrophe
vector aaah! exterior lab exterior instant boxlite exterior downie exterior eruption grannos
exterior
fred very low GY 6,35 TI
fred low TCD 1x 13W
fred low GY 6,35 TI
135
fred high GY 6,35 TI
110
750
350
350
110
110
110
wood: 10970323
wood: 10970223
wood: 10970423
alu ext.: 10970119
alu ext.: 10970319
alu ext.: 10970219
alu ext.: 10970419
lamptype: 1x FSQ / G24d-1 max. 13W 230V
lamptype: 1x HSG / Gy 6,35 max. 50W
fred high TCD 1x 13W alu
una 50 - 75W / TI*
hybrid maxi TI
hybrid TI
80
750
760
110
300
760
65 65
wood: 10970523
dark grey:
alu ext.: 10970519
*dark grey: 10660206
*alu ext.:
80
40
40
10660106
alu ext.: 10650219
alu ext.: 10650119
10660219
lamptype: 1x FSQ / G24d-1 max. 13W
lamptype: HRGI / Gu5,3 max. 50W 12V *230V
base
mounting tube una
woody A TI
woody TI
base flange
louvre hybrid
35
90
590
500
75
178
dark grey: 10660306 una
black: 10660502 una
alu: 10660319 una
black: 10650402 hybrid
alu: 10650319 hybrid
For an ultra solid fixing to the floor
26
10660430
black: 10650502
wood: 10670323
200
alu ext.: 10670319
For a more solid fixing to
the floor
luminance-reducing louvre
for hybrid.
Or for aesthetic use.
lamptype: 1x HSG / Gy 6,35 max 50W 230V
200
wood: 10670123
woody TI alu
big woody TI
argus exterior
35
90
beamer exterior stake 1x50 W
35
90
55
94
500
1000
75
200
200
200
alu ext.: 10670119
450
110
115
200
Ø 80 h: 110
wood: 10670223
alu ext.: 110750119
dark grey: 10720106
alu ext.: 10670219
lamptype: 1x HRGI / Gu5.3 max.. 20W 230V
beamer exterior stake 2x 50W
jules foot
jules pin 50W
hit-me
Ø 130
94
100
1260
420
450
149
Ø 55
dark grey: 10720206
dark grey: 10730106
dark grey: 10730206
lamptype: 1x FDH / G5 21W 230V
flashback
flasher
apostrophe
apostrophe TI
280
120
alu ext.: 10940119
120
65
65
125
185
2000
310
125
35°
35°
65
200
65
200
alu ext.: 10960119
alu ext.: 10760119
lamptype:
vector 1x MR16
1x HRGI / Gz10 max. 50W 230V
1 x FSD / 2G11 18W 230V
vector 2x MR16
dark grey: 10740106
dark grey: 10740206
vector TI 1xMR16
vector TI 2x MR16
60
105
70
60
70
110
45
60
60
60
166
60
166
105
alu ext.: 10700119
alu ext.: 10700219
alu ext.: 10700419
alu ext.: 10700519
lamptype: 2x HRGI / Gu5.3 max. 50W 12V
vector TI wallbase 30 - 60
vector 1x MR16 oriëntable
aaah! exterior
lab exterior
90
300
or
600
103
80
60
72
72
70
120
45
395
60
45
90
100
45
alu ext.: 10700619 30 cm
alu ext.: 10700319
inox 316 L: 10690120
inox 316 L: 10680120
lamptype: 1x IBT / E14 max 25W 230V
lab 2 exterior
lab TI exterior
instant 1x E14
instant plus 1x E14
alu ext.: 10700719 60 cm
72
72
60
150
280
160
90
160
90
45
60
45
105
45
inox 316L: 10680220
inox 316 L: 10680320
alu ext.: 10710119
alu ext.: 10710219
lamptype: 1x IBB / E14 max 25W 230V
instant plus 2x E14
boxlite CDM-R PAR30
boxlite CDM-TC
downie low 26W exterior
380
300
170
380
45
120
60
alu ext.: 10710319
120
120
alu ext.: 10780119
Ø 255
120
alu ext.: 10860119
alu ext.: 10780219 35W
alu ext.: 10780319 70W
lamptype:
lamptype: MR30 / E27 max:.70W 230V
downie high 26W exterior
eruption
1x MT / G8.5 35W 230V
1x MT / G8.5 70W 230V
35W
70W
grannos fix basic 1x 20W
grannos fix rect 2x 20W
110
90
235
220
130
130
400
Ø 255
alu ext.: 10860219
400
130
405x 405 h: 125 mm
alu: 10770105
Ø 90 h: 150
alu: 10790105 clear glass
110x220 h: 150
alu: 10790205 frosted glass
lamptype: MR30 / E27 35W 230V
lamptype: 1x HRGI / Gu5,3 max: 20W 12V
lamptype: 2x HRGI / Gu5,3 max: 20W 12V
27
grannos fix square 1x 20W
grannos fix rect 1x 20W TI
110
grannos fix round 1x 20W
110
110
grannos orient rect 2x 20W
110
220
110
220
130
130
130
110x110 h: 150
130
110x 220 h: 150
Ø 110 h: 150
110x 220 h: 150
grannos orient basic 1x 20W
grannos orient square 1x 20W
grannos orient rect 1x 20W TI
grannos orient round 1x 20W
90
110
110
110
110
130
220
130
130
130
Ø 90 h: 150
110x 110 h: 150
grannos louver
grannos colorfilter
grannos recessed box
10791502
red.:
10791713
10800130: grannos square
Luminance reducing louver.
Only to be used with
grannos fix !
yellow:
10791714
10800230: grannos rect.
green:
10791715
10800330: grannos round
blue:
10791716
110x 220 h: 150a
110x 220 h: 150
grannos trans. IP68 50va
Only
to be used with orient fix !
10791630
ChessCafé, Ghent
Arch.: Arch. bureau Return - Michiels & Laureys - grannos
2C or 02C 2FLAT2C small 2FLAT2C 45 only 5 lineaero I aero II
baseline freeway SL 100 SL 149 multiple(x) N10 CT
lighting profiles
2FLAT2C
2C or 02C
small 2FLAT2C
45 only
34,5
34,5
144
217
6,8
34,5
34,5
28,2
299 (*)
205
34,5
34,5
299 (**)
5 line
48
226(*)
66
226 (**)
(*) with lateral triangular side profile
(*) with lateral rectangular side profile
(**) with lateral rectangular side profile
(**) with lateral triangular side profile
aero I
aero II
baseline
90
42,75
96
300
54,2
(*)
(*) 5 line out
91
51
58,5
118,25
165
208
67
(**)
102
84
84
(**) 5 line 30°
(***) 5 line in
54
(***)
(****) 5 line 1/2 in
54
(****)
freeway
SL 100
SL 149
multiple(x)
122,5
130
130
23
149,5
185
149
100
(*) cover superior
130
(*) with cover superior
185 (*)
149 (*)
N10 CT
322,5 (*)
165
162
325 (**)
(*) N10CT out
(**) N10CT in
freeway
28
Vorselmans, Loenhout
Arch.: DMVA Daivid Driesen, Tom Verscheren - 5line
2C or 02C 2FLAT2C small 2FLAT2C baseline
ready made
ready made 2flat2c TL5 2x54W SQ
ready made 2flat2c TL5 2x54W poly
1136
1320
1051
1320
down: 93164001
up/do: 93164002 +po.i.c.
ready made 2flat2c TL5 2x54W BAP Cat3
suspension twin set +
230-240V cable included
down: 93164011
up/do: 93164012 +po.i.c.
1320
down: 93164021
up/do: 93164022 +po.i.c.
ready made small 2flat2c TL5 2x54W SQ
1136
1051
2100
down: 93154001
up/do: 93154002 +po.i.c.
lamptype: 2x FDH / G5 54W 230-240V
ready made small 2flat2c TL5 2x54W poly
ready made small 2flat2c TL5 2x54W BAP Cat3
ready made 2C or 02C TL5 2x54W wabe side
ready made baseline TL5 1x24W up
650
1136
2100
down: 93154011
up/do: 93154012 +po.i.c.
1136
2100
down: 93154021
up/do: 93154022 +po.i.c.
1063
1320
down: 93254001
up: 93254001
logo / text on request
up/do: 93254002
downut - crosslink - multiple mask - square moon backlit
halfpipe - thub
new product line
downut 1x T5C
80
355
11030109: downut 1x T5C
aperture: Ø 356 h: 120
lamptype: T5 circline 55W
Optiek Brilcenter, Wondelgem
Arch.: downut
downut
gear: incorporated, electronic
crosslink
multiple mask
square moon backlit
95
122
half pipe
50
80
15
160
245
55
630
636
max. 37∞
max. 37∞
thub 2x AR111
11040101: crosslink 4x PL
10631511: square moon backlit 4x18W
lamptype: 4x FBT / E 27
10631616: filter blue
10631617: filter royal blue
10631613: filter red
10631614: filter yellow
gear: not required
available for Multiple Trimless: 1L, 2L, 3L
thub 2x AR111 + 2x TC-L 18W
thub 2x TC-L 18W
180
180
265
361
361
218
11020401: thub 2xAR111
11020601: thub 2xAR111 + 2xTC-L 18W
11020201: thub 2xTC-L 18W
aperture: 362 x 219 h: 195
aperture: 362 x 219 h: 195
lamptype: 2x HMG max. 50W
lamptype: 2x FSD 18W gear: incorporated, electronic
lamptype: 2x FSD 18W
transfo: incorporated, electronic
lamptype: 2x HMG max. 50W transfo: incorporated, electronic
thub 1x AR111
thub 1x AR111 + 2x TCD 26W
thub 2x TCD 26W
195
219
361
218
aperture: 362 x 219 h: 195
195
180
361
218
lamptype: 4x FD / G13
218
280
195
219
219
11020301: thub 1x AR111
11020501: thub 1xAR111 + 2xTCD 26W
11020101: thub 2x TCD 26W
lamptype: 1x HMG max. 50W
lamptype: 2x FSQ / G24q3 26W gear: incorporated, electronic
lamptype: 2x FSQ / G24q3 26W
lamptype: 1x HMG max. 50W transfo: incorporated, electronic
219
29
Product Special
05
nomad, lotis, boxlite, giro
by Dominique
nomad blacks
Formerly only available on request, we will be adding 4 standard black Nomad versions to the range. The
black versions offer a very stylish alternative to the standard aluminium range or can be perfectly combined
with them. The Nomad black version will be available in the following standard versions: 2XPAR30,
4XAR111, 2XAR111/1X1TI, 4XAR111/1X2TI.
nomad 2xPAR30 Black
nomad 2x AR111 Black
black: 10200902
black: 10201502
171
Commercial release date to be communicated soon
171
182
180
321
321
nomad 4xAR111 Black/1x2TI
nomad 2xAR111 Black/1x1TI
black: 10201102
black: 10201502
223
221
184
338
171
290
132
321
132
321
30
boxlite halogen exterior
an exterior version of our boxlite halogen will soon see the light, as this smallest and most elegant version
of our boxlite range has been redesigned to also meet exterior appliances. This new IP43 fitting is made for
a 75W HEGBT halogen light source which is safely covered by a protection glass.
boxlite halogen Black Ext.
giro on jack
shortly we will be adding a new Giro fitting to the range. The other existing multi ortientable Giro's already
are a success, offering a single version without transfo as well as a double version with incorporated
transfo. With the new version it will be able to plug in the Giro into the standard Modupoint keeping the
same orientability.
giro 1xAR111 jack
black: 10780412
black: 10820324
lamptype: 1xHEGBT max. 75W
lamptype: HMG max. 50W
Commercial release: 15/12/2003
Commercial release: 13/10/2003
183
120
225
120
165
lotis cdmtc
The Lotis range will also be enlarged by adding a CDM-TC version. As with the Other Lotis fittings, this one
also offers the advantage of the recessed light source, thus avoiding unpleasant blinding. This new version
will come with a 35° reflector, possibly to be extended by other reflectors to come.
lotis CDM-TC White Matt
alu: 10880302 lotis CDM-TC Black
Ø 210 h: 245
lamptype: 1xMT G8.5 max. 75W 35°
252
alu: 10880305 lotis CDM-TC Alu
alu: 10880309 lotis CDM-TC White Matt
216
lotis MR16 Dark Chrome finish
lamptype: 1xHRGI / Gu 5,3 max. 50W 12V
107
82
Hotel Messeyne ‘The Office’
arch.: Stefanie Laporte - lotis
31
FLUSH MANUAL
01 & 02 & 03
Remove the pots by releasing long buttons
04 & 07 & 08 & 09
Unscrew frame and install it into the ceiling
05 & 06
Unscrew the cover of the unit
10 & 11
If needed, finish ceiling with filler and paint.
12
Connect power supply cable to unit using a double
circuit. Mount and screw on cover
13
Push body into frame and fasten with short buttons
14
Install FDH lamps
15
Run cables through pots Install the glass with the mat
side inwards. Run pots through glass and refasten with
long buttons
16
Remove the wire springs on the lampring. Connect
AR111 lamps to secondary cables and snap on lamps
with wire springs
01
32
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
35
Angelo & Angelino
06
Hot studs being waterproof but not beerproof
by Angelo & Angelino
For Angelo, this was probably the most stupid bet that we ever did, but like in any good cowboy
movie, one of us had to lose, and this time it was Angelo. Mr. Modular asked us to deliver to all
the ladies in the house of Modular a present because it was their official celebration day for
being a lady-co-worker. This was of course the perfect job for us, because this was the perfect
reason to give kisses to all the girls in Modular. Angelo yelled he would receive the most kisses
because the girls will find him so mature, while Angelino just kept buzzing about his all new girlattracting eau- de-toilette.
Anyway, too make a long history short; we decided to have a bet. Since, once again, all our
money was spent on car-magazines, cigarettes and booze, we decided to bet for a haircut. The
one who had received the most kisses could choose the haircut of the other one. Needless to
say it was Angelino who won with 234 kisses (against 154 kisses of Angelo), probably because
he spoiled one bottle of girl-attracting eau-de-toilette on his breast-chest. The bet was done,
and so was the haircut.
disappointed in all the traffic-jam our Modular agents and co-workers had to deal with every day,
and that we might have found a solution for this. All we needed was a small budget to rent this
new transportation vehicle so we could test-drive it and write a rapport on it, so he could decide
that this was a good solution for all the time being lost by Modular members.
Mr. Modular really liked the fact that we took some initiative and he decided to give us a chance.
(Which we found very normal, because transport-managing was kind of our job in Modular)
Anyway, Angelo’s was after all very happy with his refreshing haircut, because until so far we
had a very hot pre-summer weather here in Belgium, especially during the weekdays. But we
thought that this hot sunny weather was kind of a bummer because we had to work and we
more had the idea of getting boozed on a sunny terrace. We had to find a plan to legally escape
from Modular, enjoying the sun, have some booze, and still doing our job. When it comes to
thinking, we knew we needed Miguel to help us out. As always, he was smoking cigarettes on
the parking lot. We called him on his new mobile phone (a brand-new Nokia4332 that he had
worked for the last three week-ends as a helping throwing-out-jumper in Dancing Extase) for a
special meeting between the Modular carton boxes. Miguel only had to hear the words ‘special
& meeting’ and he knows enough. Five minutes later Miguel came to our self-made hidden
meeting-room, while smuggling in some beers and some John Player Special cigarettes he had
bought occasionally.
We told him that the sun was hot these days and that we wanted some reasons to convince Mr.
Modular that we could work outside. After a few laughs, some loud farmers, and a couple of
beers our ideas quickly became to come. Afterwards we ate some chicklets, so that Mr. Modular
would not smell our beer-breath and we went to his office. We said to him that we are very
Angelino is shaving Angelo’s face Angelo is pissed.
Angelino, kissing the ladies a lot and smelling good.
Going for the mullet.
Angelo, kissing the ladies, looking good.
A very nice mullethead.
Angelo making the ladies smile.
34
Angelo screamed to keep this rattail, but a no go for
Angelino.
After leaving Mr. Modular’s office, we returned to our secret meeting place. Meanwhile Miguel had
bought some boat-books and we continued our meeting. Our search for the perfect boat could
start. We emptied our third half-litre beer and started mentally preparing for our test. “If all works
fine on the sea, I’m sure it will work even finer on all the canals we have here in Belgium, so it is
better to test-drive the boat in the hardest condition.” We all agreed with Angelo’s words so we
decided to float the boat at Zeebrugge-Harbour.
We were very proud on each other that we had dealt with this traffic-matter like real professional
problem solvers and we even started daydreaming that we would win the Nobel Price for trafficjam-solving. Needless to say we would spend all of our price-money to overpowered boats, and
tuned cars to drive in our spare-time. Off course we did not win that particular Nobel Price, since
they still have to invent it for us. Anyway we will call mr. Nobel and tell him what we think of him.
We quickly noticed that the boat would be better off with more horsepower, and a new claxon, but
that was a minor problem that could easily be tuned. Also needless to say that we did not
encounter any traffic jams, so that this boat, in combination with the very widespread canalsituation here in Belgium you can go wherever you want. We still don’t understand why nobody
uses boats instead of cars, but maybe that will change after they have seen our approach on boats.
Having our breakfast in one of the coolest truckstops we know.
Angelo checking out some sexy mags.
Angelo is hot, and wants to cool
down already.
Three real captains posing in the sun.
Cruising in the harbour, while Angelino is sniffing some sea-breezes.
A very disappointend Angelino, because Angelo does not give him the
steering wheel.
Enjoying another beer.
Angelo sitting on the top.
Angelo on the wheel.
Angelino cruising in the sea and looking for some ladies around to
imponate.
Miguel and Angelo are waiting for Angelino, while he is
checking out the girls on the beach.
‘No-Fear-Miguel’ sitting dry, while Angelo and Angelino did some
swimming.
Enjoying a beer and real zwam-saussicen.
Trailing our boat.
Working hard to put the boat back
on the trailer.
Enjoying a beer.
Blowing out on the beach.
Looking for a beer-tent to celebrate our great
day at the sea.
Going home, with a car.
(What a bummer)
35
Modu News
12
fairs and exhibitions
INTERNI MILANO 2003
36
by Dominique
EUROLUCE / Interni - Milano
For this biennial celebration of international design, Modular chose not to attend the Euroluce
exhibition and instead participated in the side event “Interni”. During the entire fair, people visiting
Euroluce could alternatively follow a circuit through Milan during which exhibitors invited them to
private showings. Modular’s concept was built around the theme of 70’s tennis. After having worked
their way through a mini labyrinth, visitors were given the opportunity to enjoy a sports drink or a
refreshing draught beer.
UPCOMING FAIRS
Batimat, 3 - 8 november 2003, hall 7.2/G/51, Paris
Decocontract, 6 - 9 september, hall 12, stand F16-G17
CONSTRUMAT - Barcelona
Modular once again amazed visitors at its joint stand with the Spanish subsidiary. A professional
actor was hired to lead an everyday life on this year’s Construmat stand. “Bertrand” had a whole
seventies house at his disposal, which included a kitchen, bathroom, bedroom and living room, all
worked out in detail. As people visited Bertrand’s home, they could admire Modular’s latest products,
all perfectly incorporated into the stand’s concept. More than one eyebrow was lifted when Bertrand
started drinking more beer than was obviously good for him, when he enjoyed a good siesta in the
couch or in his bed, and when he energetically started playing his electric guitar in the living room.
Rumours have it that Bertrand might be back for more in the future...
CONSTRUMAT BARCELONA 2003
37
Sofie Muller
08
Oeuvre
by Peter
Ghent, 21/6/2003
On the Graaf van Vlaanderenplein, in an unfinished loft opposite the park, we find the workplace as
well as the exhibition space of Sofie Muller, an all-round artist who is currently concentrating on
photography and three-dimensional art.
Upon entering the studio, we are confronted by an imposing two-headed figure, a symbiosis of man
and woman, a sexless being that stares up into the heavens. Next to it, there is a group of pictures;
rotated silhouettes of the human body, constantly repeating themselves.
The two-headed figure and the pawns are ceaselessly watched by strange pairs of eyes. Whenever
the observer looks more carefully at these photographs, the eyes appear both open and shut. Apart
from these photographs, we find a number of black and white pictures on which both sexes have
evolved towards hermaphroditic beings.
38
Finally, there is a series of colour photographs on the same theme of transsexuality, but portrayed in
a much more playful manner. These are in the form of photo collages.The general constant in all these
works is ambiguity, surprise, strangeness, oppression; a picture behind the picture. As an observer,
you are actually obliged to cast a second, more careful glance at Sofie’s work, so as not to be misled,
and to enter into this bizarre, yet aesthetic world.
Sofie Muller (28 years of age), lives and works in Ghent, and is currently a lecturer in painting at the
Saint Lucas Academy. She holds diplomas in painting, free graphics and three-dimensional sculpture.
Graslei 12, 9000 Gent, tel. **32 497881824
Gallery de Buck, Mai 2004
main office belgium
phone: ++ 32 (0) 51 26 73 73
www.fractal.be
Parc d'aventures scientifiques
Frameries
featured products
06
09
05
11
C2-PROFIEL
CONTOUR
H2-PROFIEL
WAVE ALU PERFO
43
Mmmodular
09
something ‘s cooking
by Francis
FROGS’ LEGS IN RIESLING WITH
BEWITCHED HERBS
WHOOSH!!
SERVES 4
- 24 frogs’ legs
- 2 to 3 finely chopped shallots
- 1 finely chopped clove of garlic (if desired)
- 400 ml cream
- 200 ml Riesling
- Flour
- Butter
- Parsley
- Chives
- Tarragon
- Salt and pepper
- 500 g flour
- 30 g yeast
- 300 g lukewarm water
- 2 tablespoons olive oil
- 10 g salt
- 10 g sugar
- 25 g mixed chilli peppers (green, red and yellow)
- 50 g dried tomatoes
- 25 g pickled ginger (shusi)
- 15 g dried mushrooms
(preferably black chanterelles/trompette de la mort)
- Extra olive oil and coarse salt
First season the frogs’ legs generously with salt and pepper and then roll in flour.
Fry in butter until brown.
When nicely browned on all sides, add the shallots (and garlic if desired).
Add a splash of Riesling to bring down the heat in the pan, bring back to the boil, and continue to add the rest of the wine
gradually until the liquid has reduced almost completely. Add the cream and allow to thicken in the heat.
Season to taste with salt and pepper and finally stir in the green herbs.
When served with a glass of chilled Riesling, this is a frog the Princess will definitely want to kiss!
Firstly, make a small ball of dough in a deep bowl, using a quarter of the flour
together with the water, the sugar and the yeast. Let this rise for 20 minutes in
a warm place. Then add the rest of the flour, the salt and the olive oil. Knead
for 10 minutes or so until the dough becomes smooth and elastic. Cover with
cling film and allow to rise for 45 minutes.
Meanwhile, soak the mushrooms in warm water for about 20 minutes, then
drain well.
Now knead the chilli peppers, tomatoes and ginger into the dough.
Allow to rise again for about 20 minutes.
Then knock down the dough and place it on a flour-covered baking tray. Using
your fingertips, work the dough flat until it covers the entire surface and is about
1 or 2 cm thick.
Allow to rise again for an hour under the cling film.
Just before the dough goes in the oven, sprinkle it with olive oil and coarse salt.
Bake at 220°C for 20 to 30 minutes until golden-brown and crispy.
When done, remove from oven and sprinkle again with olive oil while still warm.
40
FROG LEGS WITH WHITCHES’ BREAD
41
Motivated People
10
die Ortlahner Schuhplattlergruppe
by Peter
“Die Ortlahner Schuhplattlergruppe” was set up in Wommelgem in 1975. Since that date, this
Belgian dance group has adopted a wide range of typical Austrian dances. The group consists of 18
young men and women, decked out in the original and characteristic finery of the Tyrol. In the last 25
years, the group has produced a whole series of successful “Original Tyrolian Evenings” throughout
Belgium, as well as in the Netherlands, Germany and of course, Austria. Even Austrian newspapers
have been high in their praise of these appearances. The guys specialise in the schuhplattler (“thigh
slapping”), this involves the rhythmic slapping on the thighs (wearing lederhosen) and feet, which
requires no small amount of skill. Through their capers and leaps, they try to impress a girl, who spurns
their advances, remaining elegantly aloof yet charming. This she does by means of the dirndldrehen,
which is spinning around, quite quickly and evenly, on her own axis. An appearance consists of 14
dances, with no end of props and attributes used. The Mühlradl turns the dancers into millers with
white, flour-covered faces, while the Holzhakerbuam turns the dancers into lumberjacks, with water
and splinters flying around everywhere. The Bergknappentanz plays out in the deepest of mines with
flickering lights, fireworks and miners’ tools, and the Kuahglockenplattler is performed by the girls with
the playful peals of cowbells. In the Watschenplattler, competition among the guys results in firm clips
around the ears and in the Tiroler Figurenländler, one complex figure follows another. When the public
is involved, the result can sometimes be uncontrollable outbursts of laughter! Between dances,
yodelling is performed and/or Austrian folk songs are sung.
42
Gregoir
11
fairy tale
by Toon Stockman
Once upon a time... there was a really old tree, with really old branches, and on the left of its trunk - at least
if you were looking at it from behind the bilberry bush - there stood a ramshackle hovel. During fierce storms,
when all the other trees would bend, weave and snap, this tree didn’t twist at all, not one single bit.
And during the winter, - and certainly if you were looking on from behind the bilberry bush, from where the
bare surface made the hovel look even more ramshackle, the pair took on a morose aspect. Stripped of all
its leaves, completely naked, that’s when you could really see the inky black of the thick branches with the
small, ramshackle hovel beneath.
“That’s it, I’m off, I’m not putting up with this any longer,” screeched the cleverest bird as Gregoir had just
delivered his fifty-fifth kick to the trunk, and according to his normal daily schedule, was to dish out
another fourteen.
“Oh, stay a little longer, you’re such good company.”
“No, I’m fed up with this everlasting kicking, that’s all he ever does, and it’s our trunk too. I just want to rest
now, and not just when he’s eating, sleeping or skinning filthy rabbits. I want to rest.”
The middle bird thought about it and said, “You’re right, let’s go, I know a good tree.”
Gregoir wasn’t sure if they were oak or chestnut branches above his hovel, but he didn’t think it was that
important anyway, because the tree protected him from everyone who lived in the village further on. The
villagers hated Gregoir just because he had the ugliest of faces. Everybody was afraid of the tree, not just
because of its enormous dimensions and strong branches, but also because the trunk was so misshaped
that it looked like a witch’s face.
“This can’t go on,” thought Gregoir, looking at the roof while devouring his cold rabbit, fearing that a branch
would pulverise his hovel. He wrenched away his old stove and dragged it outside, and looked around to
see where he could place it. “Yes, perfect!” he said. “Over there, by the trunk, then I don’t have to go far
when I’m hungry.” And so, he warmed up his cold rabbit on his old stove.
“Oh yes, my table.” He rushed inside, dragged his table and chair outside and placed them neatly next to
his old stove. He slumped into his chair and enjoyed his hot rabbit and the respite from the constant threat
above his head. He postponed his midday nap so as to be in his hovel as little as possible.
The three pitch-black birds that lived in the tree confirmed the villagers’ suspicion that the tree and also
Gregoir were haunted, and so everybody gave Gregoir’s hovel a wide berth and left him alone. Of course,
Gregoir was very pleased with his tree, his guardian angel. He had an ugly face, and in those days, an ugly
face was more than enough reason for giving somebody a kicking.
Until one day, when Gregoir was by chance standing behind the bilberry bush looking at his tree and hovel.
He had just extracted another bilberry skin from between his teeth when his tree caused him a shiver of
fear. The heavy branches were hanging menacingly over the hovel, ready to give it a bashing. He ignored
that shiver for a moment, it was his tree after all, but a second shiver went down his spine when he saw
the thick branches again, laying low over his hovel. He wasn’t afraid that the tree would completely smash
his hovel to pieces, he knew that trees couldn’t do that sort of thing, but he was afraid that one of the
branches might break off and plummet heavily to the ground.
These enormous branches, even the smallest, could completely demolish his poor hovel. Even during that
same autumn, when the tree had dropped its fruit, or was it vegetables, he wasn’t quite sure, he had been
trembling with fear. The fruit slammed down onto his hovel and with each thud, he feared the fatal branch
that would destroy it. He tried not to think about what would happen to him when the fatal blow came to
his hovel, and whether he might be asleep or maybe even eating frogs’ legs for all he knew. He just tried
not to think about it.
But he did think about it. Every day.
Since then, every morning, when he came back from his morning foraging, before entering his hovel, he would
give the trunk a good kick. Just to make sure that all the branches were still firmly attached, so he wouldn’t
get a nasty surprise when skinning a rabbit, catching a frog or just having an afternoon nap.
After a while, not even the three black pigeons that lived at the top of the tree were bothered by Gregoir’s
kicks any more. “Of course they are black pigeons,” said Gregoir, briefly winking at each of the three birds.
“They have orange beaks, and that’s typical of pigeons.” Sometimes he quite felt like roast pigeons washed
down with beer, but he was just too sympathetic towards the three birds.
But the safety he got from his daily kick became vague and doubtful. “Perhaps I just don’t kick hard
enough,” he thought. He wasn’t able to kick any harder, he was already stamping with all his might.
He soon found a solution: a second kick, just before going to bed. The three black birds looked at one
another rather bemused: “hey, what? Is it morning already?” The cleverest of the three looked up to the sun
vanishing into the dusk and saw that it was getting dark: “It’s just another kicking spree, it will soon pass.”
The three birds adjusted quickly, the extra kick in the evening was their signal to go to sleep, just as the
kick in the morning was their alarm clock.
When the three of them noticed a slight shudder, bang in the middle of the day, they looked down and saw
Gregoir kicking the trunk. The dumbest bird asked: “Is he angry at us?” and the cleverest bird replied: “Of
course not, he put some bread out for us this morning,” and the middle bird said, “He’s probably afraid that
a branch will come crashing on his head when having an afternoon nap.”
The three saw this as a signal to grab forty winks themselves.
That night, Gregoir lay trembling and kicking in his bed. He jumped up, leapt outside and delivered a sound
kick to the trunk. “Phew, everything’s OK, I thought for a second that a branch was about to fall off.” A warm
wind from the wood tingled his nose. “Hmm, it’s not all that cold outside, I’d be better off dragging my bed
outside, then maybe I’ll sleep better.” Gregoir rushed inside, picked his mattress off the ground, grabbed
the sheets and put everything down next to his table, chair and old stove. He immediately found relaxation
in the muggy coolness and fell asleep.
“Let’s have a look at our kicker,” said the dumbest bird. “Yes, we are just getting bored today,” the other
two screeched in harmony.
It was a great relief to see that they had not left their tree without reason. “He is still kicking like a madman.”
“But why is he still kicking?” asked the dumbest bird aloud. “After all, his bed, table and old stove are still
outside. He no longer has to be afraid of the stupid branches that are not going to fall onto his roof anyway.”
“Indeed,” said the cleverest, dryly.
The middle bird agreed with him: “Indeed,” pointing with his feathers to the dark rain clouds above him.
It was pouring down. Gregoir had kicked eighteen times in succession, so he could easily seek shelter in
his hovel. He was nervous. Maybe a branch would come loose due to the storm after all.
Gregoir fled outside. He kicked his own hovel briefly, however, he was by now so good at it that it shook
and the four walls fell apart and the roof thudded to the ground. A drop of mud splattered against one of
the dumbest bird’s wings. “Hey, you messy thing,” he shouted, but the others immediately silenced him.
Meanwhile the rain was pouring over Gregoir, but he was able to skilfully install two walls around his table,
bed, mattress and old stove. He fixed the third and fourth walls to them in three blows. The roof was more
difficult, but he managed. By the time the roof was ready, the last drop of rain had fallen.
The three birds kept looking at the doorway, but Gregoir did not come back out.
“Hey, look, he’s stopped kicking,” shouted the dumbest bird.
“No,” shouted the cleverest bird.
“Of course not,” said the middle bird, “He’s moved his hovel, he’s got nothing more to be afraid of.”
“So, can we go back to our tree?”
“Yes, we can.”
The three flew off to their favourite branch. This was now situated right above his hovel. “Let’s move to the
other side of the tree, so we don’t have to sit and stare at his ramshackle hovel.”
…Once upon a time... there was a really old tree, with really old branches, and on the right of its trunk - at
least if you were looking at it from behind the bilberry bush - there stood a ramshackle hovel. During fierce
storms, when all the other trees would bend, weave and snap, this tree didn’t twist at all, not one single bit…
43
Review page
12
been here, seen this?
by Peter & Toon
This quartet is what you might need for a splendid
holiday. All you should do during your welldeserved summer break is party, relax, party, relax...
so voilà, this is what we have selected for you.
MISS KITTIN – RADIO CAROLINE
Not the newest album in this selection, but one
you can’t miss if you like today’s dance-scene.
Maybe Miss Kittin is hyped too much, but let’s
forget this and concentrate on the music she
selected and mixed on this album… Well, this is
what we can say: she’s a bomb and she’s made
in ‘Sweetzerland’. Bravo.
DAVID GUETTA – F*** ME I’M FAMOUS
If your ‘garden-aperitif’ is about to change into a
wild party, because everybody drank to much
‘rosé’, drag the loudspeakers into your garden,
put on David Guetta, call some more friends,
start making Caipirinha’s, and you’re set to party
all day long. A swimming pool would ad very nice
to this scene.
www.misskittin.com
www.davidguetta.com
*****
*****
*****
CHARLIE HUNTER QUINTET – RIGHT NOW MOVE
You don’t remember anymore when you bought
your last jazz-record? Try Charlie Hunter Quintet,
and you probably will start your old habit again.
For best result, use in combination with hot
weather, a parasol, grilled lobsters, white wine
(cold), and good companion.
www.ropeadope.com
*****
*****
This music-chart is compiled by Bertostoro, a DJduo that only plays occassional and mostly for a
very intimate crowd. The main goal of their set is
dual; they want to amuse themselve, and they like
their dancefloor filled. Rumour has it they only
drink the finest of wines when they play, and the
better the wine, the better the set.
Artist: L’usine
Track 5: Haze
Comment: Dance. Best played with a lot of bass.
Taken from: The love we share, 2002 (TOSTO)
This chart is not the typical 1-10 hit chart, as in
their eyes, number one is as good as number 10.
It is a mix of what they play currently in their car.
It is not the newest stuff, and it is certainly not a
blueprint of their DJ-ing stuff (although many
songs may by very dance-able). Like said, it is just
what they like and play at this very moment.
Most of the tracks are taken from a full album, and
it is only that perticular track that has made the
BERTOSTORO car-chart, not the whole album.
Artist: Miss Kittin
From track 3 to 4, and from 8 to 12
(with some extra points for track 12)
Taken from: Radio Caroline, 2003
(BERTOSTORO)
ZIVILE OPERATIONEN / CIVIL OPERATIONS –
WALTER NIEDERMAYR Franz Xaver Baier & Marion Piffer-Damiani
Whether Walter Niedermayr takes pictures in the openness of a lonely alpine landscape or in the tightly
controlled, cramped conditions of a closed institution, the concrete topographical references in his pictures
always evaporate. Characterized by a diffuse light that illuminates spaces and colors, stretched between
the visible and the invisible, his photographs reveal the various subtle qualities of spaces, from sober
eeriness to poetic delimitation. The artist confronts the viewer with the expansive imagery of a photographic
series that has neither beginning nor end, offering views of space as seen through the life of passengers
and inmates, hospital workers and waiting room attendants. This new book of Niedermayr's photographs
features, for the first time, a selection of works from different series, including his views of hospitals, prisons,
motorways, and construction sites, and the alpine vistas that first brought him to international attention.
SVEN VAN HEES – INTO BLUE
This album is mixed and compiled by Sven Van
Hees, and is a very gentle mix of Blue Note
tracks. Nothing new you would say, enough Blue
Note records have been compiled the last years,
but not so for Sven Van Hees. The chosen tracks
are perfect for lazy summer days, and have the
same atmosphere as the photography on the
sleeve: a tender day at the beach.
Artist: Nick Cave and the Bad Seeds
Track 1: wonderfull life
Taken from: Nocturama, 2003. (TOSTO)
Artist: Ellen Allien
Track 8 (CD1): Stadtkind
Comment: Electro.
Taken from: Futurism, 2002 (TOSTO)
Artist: Agoria
Track: Sky is clear
Comment: For speeding. (BERRO)
Artist: Shakedown (Kid Creme Club mix)
Track: At night (BERRO)
Artist: Placebo
Track: Special Needs
Comment: For ‘Guitar’ Moods (BERRO)
Artist: Freaks (Losoul remix)
Track: Turning Orange
Taken from: Musicforfreakspresent some freaky
stuff (BERRO)
Artist: C++
Track: Angie’s fucked
Taken from: Musicforfreakspresent some freaky
stuff (BERRO)
Artist: Quasistereo feat. ACL (chicks on speed mix)
Track 8: Accellerator
Comment: No way you will sleep.
Taken from: Dan Ghenacia, no way you can
sleep, 2003 (TOSTO)
156 pages
hardback
ISBN 3775712607
*****
*****
WORLD WITHOUT WORDS –
MICHAEL EVAMY
SMALL HOUSES –
NICOLAS POPLE
A voyage through the visual shorthand of modern life, World Without Words argues that we are relying less
on words for navigating the world than on images and graphic devices. It shows designers’ attempts to
condense words and data down to their simplest equivalents. The book illustrates the familiar, the peculiar
and the confusing visual language that we are asked to interpret (symbols, graphs and charts, maps), mixed
up with the more graphic examples of data storage and identification that is read not by humans but by
machines (such as barcodes, magnetic strips, holograms). Featuring airport signs, road markings,
pictograms, maps, diagrams, packaging, logos and symbols, World Without Words shows not only the
norms of wordless graphic communication but also how these vary around the world when interpreted by
local individuals for different cultures.
Small houses are no longer synonymous with cheap houses and lack of privilege. Instead, they symbolize
a range of culturally coded values: compactness, efficiency, discrimination, discreteness, minimalism.
Opening with a detailed exploration of the social and historical background behind compact housing in the
twentieth century, this book goes on to feature 37 illustrated case studies that represent some of the best
examples of small houses built worldwide within the past decade. Plan areas range from 7 to 150 square
metres (75 to 1615 square feet) and each project embodies a particular design approach towards
compact accommodation. The case studies are organized into three chapters – Rural Retreats; Urban and
Suburban Bases; and Small Clusters and Multiples – and include work by such architects as Toyo Ito,
Lacaton & Vassal, LOT/EK and Kazuyo Sejima.
160 pages
paperback
ISBN 1 85669 319 8
www.laurence-king.com
208 pages
ISBN 1 85669 296 5
hardback
www.laurence-king.com
44
SONY HUMANISED ROBOT
SHOCK TOWER
Japan's Sony Corporation has unveiled a prototype robot that can sing and dance. The
human-shaped SDR-4X can sing in four-part harmony, shake its hips and wave its arms in
tempo. This robot will cost as much as one car, a luxury car. Sony Corporate Executive VP
Toshitada Doi The company says the robot can also recognise faces, voices and names,
hold simple conversations and pick itself up when it is pushed over. But it is an expensive
toy that a company executive says will cost as much as a luxury car.
Company officials say they hope the robot will be able to provide entertainment and
companionship for its owners.
The Shock Tower is hydrofoiling's most exciting and imaginative
innovation since the birth of the sport. With the air/oil shock you can
vary the amount of travel by using the pump to increase or decrease
the amount of air pressure in the shock. This will allow anyone of any
size to realize the benefits of riding with suspension! The Shock Tower
was brought to life with two things in mind:
1) To increase pop off the wake by "pre-loading" as you leave the
water the shock will actually kick you further into the air.
2) Decrease the impact and make the landings as soft as possible.
www.sony.com
www.SkySki.com
VENTURA V-TEC ALPHA
With the v-tec Alpha, ventura design on time
introduces a totally new generation of luxury
digital watches. The contemporary design of
Swiss star architect Hannes Wettstein is
enhanced by select materials: the case and,
depending on the version, the bracelet consist of
Durinox hardened, scratch-resistant stainless
steel, a ventura exclusivity; the crystal is made of
equally scratch -resistant sapphire. The excellent
readability of the liquid crystal display is achieved
with newly developed fonts and a very high
contrast. Two rows of digits assist the intuitive
EasySkroll operation.
© sony
www.ventura.ch
HITACHI CLEANING ROBOT
TANKS FOR SALE
Hitachi presents a new extremly small (250mm)
Home Cleaning Robot Prototype.
Tanksforsale is a joint Czech English company that
supplies surplus de-activated oldtimer military
vehicles to Collectors, Army Surplus Dealers,
Museums and the Film Industry. They are
specialized in ex Warshaw Pact military vehicles &
equipment sourced directly from Army surplus
stocks. The company also holds a stock of spare
parts, and a library of technical information.
The robot can chart out a room automatically and
vaccuums the floor when cruising around.
The robot automatically empties the dust container
in the loading station. The Robot also goes back to
the loading station when it's battery starts to get
low on power.
www.tanksforsale.co.uk
www.hitachi.com
FORD MODEL U
The ultimate recyclable car. You can eat it, uh, purge it and use the fertilizer
to grow it again. Inspired by Henry the First's soybean-based car body of the
early '40s, this basic, small F-150-styled urban utility vehicle is powered by a
hydrogen-fuel 2.3L internal combustion I-4 with the same electric-hybrid
system that will find itself into the 2004 Escape. The interior features a "slot"
system that lets you remove and replace seats and part of the instrument
panel. The interior is made of a recyclable polyester, with soybean-based
seat-foam and tailgate, a sunflower seed motor oil, and a corn-based canvas
sunroof.
A 2.3-liter, four-cylinder supercharged, intercooled hydrogen internal
combustion engine, coupled with a hybrid electric transmission, propels
Model U. It offers enhanced fuel economy - the equivalent of 45 miles per
gallon and about 300 miles of range - plus near-zero regulated emissions and
a 99-percent reduction in carbon dioxide. The powertrain also features Ford's
advanced Modular Hybrid Transmission System, a way to simplify hybrid
electric vehicle (HEV) technology in manufacturing, while contributing to
significant fuel economy improvements. This vehicle can meet PZEV
emissions.
www.ford.com
Ford Motor Co.
HIDDEN CAMERA DETECTOR
INNESPACE SUBS
Keep yourself and your loved ones safe anywhere! The ultimate, non-lethal
protection device fits in your pocket, has six security functions you can
activate with one touch(1) Check to see if Big Brother is watching you--wave
the 6-in-1 hidden camera detector around a room or office and it will let you
know if you're being secretly taped.
Innespace is a design and fabrication company that was set up to further the development of submersible watercraft.
Innespace was founded with the initial aim of designing and building two Bionic Dolphins for recreational and
commercial use. These positively buoyant vessels use their forward momentum and the downward lift of their wings
to literally fly below the water's surface. This radical departure from the typical method of sinking below the surface
allows the dolphin's to achieve an unparrallelled level of freestyle performance.
www.havegadgets.com
www.innespace.com
39
Slut
13
46
a fairy tale
by Pieter De Poortere
Agenda
14
exhibitions
by Toon
BELGIUM
Y.I.R.M.; Young Independent Road Museum
The museum can be visited at least two weeks in the same city. The museum can only be visited on
Saturdays between 11 a.m. and 12.30 a.m., 1.30 p.m. and 3 p.m. and 3.30 pm and 5 p.m.
For more information: www.jomos.be - phone: **32 472 713 626
------------------------------------------------------------------------Poeziezomer 2003
Poeziezomer 2003 in Watou is curated by Jan Hoet & Michel Dewilde. 25 artists are confronted
with 35 poets. The works are shown all over the village, in basements, attics, barns fields, ponds,
Poëziezomer Watou 2003
Watou, Belgium
Until 07/09/03
www.poeziezomerswatou.be
------------------------------------------------------------------------‘Beaufort 2003' Art at sea
Over a period of six months - from 5 April 2003 to 28 September 2003 - the Belgian coast will be the
stage for numerous contemporary, multidisciplinary art events. This project, 2003 Beaufort, which has
the sea and life by the sea as its theme, will take place in a variety of places. For an exhibition at the
PMMK, Museum of Modern Art in Ostend, celebrated contemporary artists from home and abroad
have been invited to paint the sea. These artists' modern-day seascapes will be contrasted against
works by their illustrious predecessors, such as William Turner, Gustave Courbet, Claude Monet,
James Ensor, Constant Permeke, Leon Spilliaert, Jean Brusselmans, Paul Maas and Henri-Victor
Wolvens.
Over 100 contemporary artists will be responsible in the coastal towns for producing a fabulous
circuit of artworks, inspired not only by the interplay of light, water and clouds but also by the
surrounding cultural inheritance of the region. Beacons, projects, billboards and exhibitions will be
appearing along the coastal landscape, taking visitors to both familiar and less familiar places by the
sea!
Between De Panne and Knokke-Heist there are 65 km of coastal resorts: long boulevards, lively
pavement cafés, enticing restaurants and jolly bistros, rest and recreational activities, nice shops and
art galleries. Accommodation is plentiful and varied: from hotels to holiday apartments and cottages.
And there is still more: behind the dunes, not far from the sea and beach, lie hushed villages, hidden
away in the natural landscape, noteworthy for their rich historic past. The abundance of nature and
culture guarantees a fantastic time by the sea. For more information visit: www.2003beaufort.be
For further information Tel: **32 70 22 50 04 - e-mail: [email protected] - www.2003beaufort.be
------------------------------------------------------------------------LONDON
Wolfgang Tillmans
‘If one thing matters, everything matters’
Tillmans' figurative photographs present us with a compelling alternative to conventional ideas about
beauty - his landscapes, still-lifes and portraits have a distinctive energy, often appearing spontaneous
and improvisatory when in fact they are carefully planned. He also recently began to make abstract
compositions by manipulating the effects of light on photo-sensitive paper. While continuing to explore
the potential of the still image Tillmans has begun to work with video, collaborating with the pop group,
the Pet Shop Boys, on a music video and making a large-scale video installation, Lights (Body) 20002. He will make a new film to be premiered at Tate Britain during this exhibition.
Tate Britain
++ 6 June until 14 September +++
------------------------------------------------------------------------The National Gallery
Trafalgar Square
++ 6 June until 14 September +++
Take One Picture: An exhibition of work by primary schools, inspired by Uccello’s 'Saint
George and the Dragon'
-------------------------------------------------------------------------
47
Main office - Belgium
The Netherlands
Modular Lighting Instruments NV Rumbeeksesteenweg 258-260 8800 Roeselare Belgium
Tel: **32 (0)51 26 56 56 Fax: **32 (0)51 22 80 04 Email: [email protected]
Modular Lighting Nederland BV Bouwerij 54 1185 XX Amstelveen The Netherlands
Tel: **31 (0)20 347 30 47 Fax: **31 (0)20 347 30 48 Email: [email protected]
Australia, South-East Asia
Spain
Modular Lighting Australasia 189a St. Johns Road Glebe N.S.W. 2037 Australia
Tel: **61 295 71 88 00 Fax: **61 295 71 88 11 Email: [email protected]
Modular Lighting Spain PG. Sant Joan 10, 08010 Barcelona Spain
Tel.: **34 93 244 43 43 Fax: **34 93 265 59 63 Email: [email protected]
Italy
United Kingdom
Modular Lighting Italy Via Machiavelli 9, 34132 Trieste Italy
Tel: **39 040 347 61 65 Fax: **39 040 348 37 91 Email: [email protected]
Modular Lighting U.K. 22-24 St. Giles High Street London WC2H 8LN United Kingdom
Tel: **44 (0)20 7681 9933 Fax: **44 (0)20 7681 9943 Email: [email protected]
Japan
Germany
Modular Lighting Japan Terrace House B 1-9-7 Nishi azabu, Minato-ku Tokyo 106-0031 Japan
Tel: **81-357 75 25 11 Fax: **81-357 75 25 12 Email: [email protected]
Modular Lighting Germany GmbH Lichtstraße 43 G 50825 Köln Germany
Tel: **49 (0)221 88884 0 Fax: **49 (0)221 88884 444 Email: [email protected]
super modular.com
for a complete international dealerlist please log on to our website

threemonthly edition july_august_september 2003 issue 7

Transcription

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